Beachy’s Blog


Openness…

Posted in Communication,Cultural Awareness,Functionality,Learning and Development by emz2687 on November 28, 2007

In mondays lecture Adrian spoke to us about semiotics (again!!!) and how our design needs to be more ‘open’. I think the gist of the lecture was to sway us up-and-coming designers from being so literal in our work, and letting the readers/audience guess and interoperate meanings, rather than them being handed out on a plate. I sort of agree with this as it makes sense for the audience to be more hands on and consequentially, more interested and involved in whatever is being discussed. Therefore as designers we should give way to the literal and allow the reader to work for the answer.

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Name Change

Posted in Learning and Development,Magazines by emz2687 on November 4, 2007

I have decided to change the name of my magazine to something a lot broader and less obvious, therefore allowing some intrigue and a wider range of ideas and images to be incorporated into the design. I’ve chosen the name ‘TRACES’ rather than ‘FOOTPRINT’ as it implies the traces we, as humans, leave upon the earth – the traces we leave that cause destruction to the environment.

DEFINITION:
trace 1 (trs) n.
a. A visible mark, such as a footprint, made or left by the passage of a person, animal, or thing.
b. Evidence or an indication of the former presence or existence of something; a vestige.
c. A path or trail that has been beaten out by the passage of animals or people.
d. A way or route followed.
e. To follow the course or trail of: trace a wounded deer; tracing missing persons.
f. To ascertain the successive stages in the development or progress of: tracing the life cycle of an insect; trace the history of a family.
g. To make one’s way along a trail or course: traced through the files.
h. To have origins; be traceable: linguistic features that trace to West Africa.

Grids

The most important thing to consider in magazine design is clarity, efficiency, economy and continuity, and the grid is the main way of achieving this. In designing a grid, you must consider the multiple kinds of information, the nature of the images and how they will be used, the length of the headlines and captions that may need to be included. The grid can be obvious – as in a column, hierarchical or modular – or can be hidden, as in interlocking or floating. A grid offers several possible solutions to the layout or structure of a magazine and helps a designer choose how to arrange the elements on a page, by limiting the choices.

Otl Aicher described a grid as “a tool not of coercion but of liberty”, whilst Josef Muller Brockmann said “To function successfully, the grid system, like all workable systems, must be interpreted as freely as necessary. It is this very freedom which adds richness and a note of surprise to what might…be potentially lifeless”

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Environmental Magazines.

Here are a few Environmental Magazines I can use for inspiration and influences.

Audubon—————California Wild———Canadian Geographic——-Conscious Choice

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E————————–Ecologist—————Green Futures————–World Watch

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Pop art

Posted in Aesthetics,Appealing,Arts,History,Imagery,Paintings,Skills by emz2687 on October 14, 2007

Pop art is one of my favorite art movements. British pop art can trace its roots back to the mid 1950’s. It’s characterized by such things as advertising and comic books, and employs images of popular culture and cheap consumer products in art. There are many famous and amazing Pop artists, including Andy Warhol, David Hockney, Jasper Johns and, my favorite, Roy Lichtenstein. Although the movement was developed over 50 years ago, Pop Art remains very much alive and more possible as ever.

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(Left: Original by Roy Lichtenstein, Right: My Version!)

A History of Photomontage

Photomontage as an art developed from the Dada movement. Photomaontaging began when Kurt Schwitters was unaccepted by Dadaists, and therefore named his artistic outcomes Merz. The term Merz came from a fragmnet of newspaper that originally read ‘Kommerz’. Dadists did not accept Schwitters as most of his material came from the street, rather than from photographs and relevants. Schwitters montages and collages, created from gathered refuge, are in no way political yet have great integrity of vision. Schwitters went on to make his ultimate work of art, connecting numerous pieces of his work. This took over the downstairs of his house, and later took over all floors!!!

Another well renowned photomonteur was Raoul Hausmann who created images with enthusiasm and anger. In a definition, Hausmann describes the power of photomontage as:
“…its contrast of structure and dimension, rough against smooth, aerial photograph against close-up, perspective against flat surface, the utmost technical flexibility and the most lucid formal dialectics are equally possible…The ability to manage the most striking contrasts, to the achievement of perfect states of equilibrium…ensures the medium a long and richly productive span of life…”

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A more recent famous photomonteur is Peter Kennard who took up phontomontage for its ability to show the “unrevealed truth” behind an image. He believed that photomontage was able to show the causes rather than the results.

Sean Hillen is also an amazing photomonteur

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Hello!

Its time to start blogging! Or so I’m told! My plan here is to extend my knowledge of all thing knowledgable within design. Over the next year I aim to use my blog as an online diary to record all my experiences concerning design.

Although the theme of this semester is ‘Surviving the 21st Century’, my plan is to investigate as much as possible – relevant to both the theme and to my interests! I’m going to look, listen, see and read EVERYTHING, and plan to make a collection of ANYTHING that may be of use.

I’m looking forward to travelling this journey into knowledge and understanding, hoping creativity, inspiration and influences will give me the ability and drive to design bigger and better things!